SKU: PR.411411640

ISBN 9781491137642. UPC: 680160691098. The Garden of the Finzi-Continis novel by Giorgio Bassani.

Based on Bassani’s 1962 novel, THE GARDEN OF THE FINZI-CONTINIS dramatizes the true story of a prosperous Jewish family’s disruptions and consequences from state-mandated antisemitism in Italy during World War II. Gordon describes the opera as “romantic, sun-drenched, and cataclysmic, all at the same time.” This dramatically topical and personal grand opera premiered at New York City Opera and National Yiddish Theatre Folksbiene to rave reviews in 2022. Chris Ruel wrote in OperaWire, “I have chosen Ricky Ian Gordon and Michael Korie’s THE GARDEN OF THE FINZI-CONTINIS as my favorite opera of 2022.”.
At one point, in 2008, I was walking down 72nd Street, and I passed the video store, (this is when there were video stores) and I thought to myself, I wonder if Kevin (my partner) has ever seen The Garden of the Finzi-Continis? which was always one of my favorite movies. My reaction when we watched it that night was unlike any other time I had seen it. I was wrenched, sobbing, inconsolable. My heart felt like the autumn leaves we see blowing through the garden at the end of the movie. It seemed immediately that this had to be my next opera. I called Michael Korie, and we both bought the Bassani novel and read it. We settled on it. It felt clear that we both had a collective story to tell through it.Because this opera is so close to both of our hearts, it is dedicated to our fathers.It is not only that The Garden of the Finzi-Continis is a Holocaust story that makes it so resonant for me, though obviously this is no small matter, but the tragedy of people trying to live their lives, or actually living them, their petty disappointments, their heartbreaks, against the backdrop of total catastrophe… that makes it so moving. They cannot possibly imagine what will befall them, but we know… and this makes their every move fascinating and devastating… like watching moths under a glass. It is romantic, sun-drenched and cataclysmic, all at the same time.This is why I had to write it.

SKU: LP.765762083103

UPC: 765762083103.

South ern gospel enthusiasts rejoice! Here is an outstanding collection of your gospel favorites. These are songs of testimony fellowship and the hope of heaven - vital components for each of us in our walk of faith. Features Easy 2 Excel Flexible choral format for choirs of all sizes; Includes a complete Keyboard Accompaniment Edition; Pieces from today's most trusted (and revered) gospel arrangers. Choirs will find this book to be a staple in their choral diet and a refreshing addition to their customary worship collection. Southern Gospel Favorites is an ideal resource for summer choirs revivals camp meetings or any gathering place where southern gospel music is loved!

SKU: PR.312418710

ISBN 9781598066265. UPC: 680160618743. Octavo inches. The Devil's Verse.

To celebrate 25 years of excellence and promotion of new concert works, the New York Virtuoso Singers commissioned 25 contemporary composers for 25 new choral works, all of which now appear on their recording, 25 X 25: Twenty-Five Premieres for Twenty-Five Years. Among the 25 is Richard Wernick's The Devil's Game. Here, Wernick uses The Devil's Verse, a Latin palindrome that still puzzles us today as to its meaning, and appropriately embraces repetitive use of the verse in a musical palindrome of his own.
The text is a palindrome (in girum imus nocte et consumimur igni), a rather mysterious one called The Devil’s Verse. Its origin is vague (probably Roman, but possibly Medieval) and it does not surrender its meaning easily; many scholars have fussed over it. It is a riddle as well as a palindrome, in other words a puzzle within a puzzle. My preferred translation, without going into the niceties of Latin grammar, is “We enter the circle at night and are consumed by fire.”This music is also a palindrome, the outer parts of which are homophonic, while the turning around point in the center (where the basses enter for the first time) is a brief double canon.

SKU: PR.362034230

ISBN 9781598069556. UPC: 680160624225. Letter inches. English.

When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.
When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?”  THE CREATION already contains a prologue; it’s called “Representation of Chaos”, and it’s Haydn’s way of showing the formless universe.  How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense.  The Age of Enlightenment’s idea of “Chaos” was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them.  Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overture”, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause.  I crafted this five minute piece to begin with a kind of “music of the spheres” universe-hum, created by tuned wine glasses and violin harmonics.  The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus.  The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent” until we finally hear actual pitches, melodies, and words.  Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now.  It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come.  At the end of the piece, the chorus finally finds its voice with a single word: “God!”,  and the orchestra finally finds its own pulse as well.  The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense.  Neither was Haydn, nor Mozart, nor Beethoven.  But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history.  The gospel according to John begins with a parody of Genesis:  “In the beginning was the Word, and the Word was with God, and the Word was God.”   I love that phrase, and it’s in that spirit that I offer my humble “opener” to the finest work of one of the greatest composers Western music has ever known.  My piece is not supposed to sound like Haydn.  It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.